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EN
Collections of the Anna and Jarosław Iwaszkiewicz Museum in Stawisko, established in the house in which the writer and his family lived for over 50 years, possess, apart from valuable manuscripts, artworks, and everyday objects also a capacious collection of photographs dating from 1860–1980. The topic of this article is an analysis of four selected albums of photographs of the Jarosław Iwaszkiewicz family for the purpose of sketching a portrait of the writer as the first “archivist” of this varied and extensive collection – based upon reflections by Roland Barthes and Susan Sontag concerning the functions (documentation) and dual nature of photography techniques (the photograph as an image and an object), as well as benefitting from accessible knowledge about the life history and predilections of the author of Sława i chwała.
IT
Il saggio si basa principalmente sul manoscritto inedito del romanzo di Jarosław Iwaszkiewicz dedicato a Bona Sforza, Il funerale della regina, su cui egli ha lavorato tra il 6 giugno 1949 e il 1953. L’autore presenta le fonti che hanno dato origine al libro e il modo in cui si è sviluppato. Inoltre, tutti i documenti scoperti e raccolti da Iwaszkiewicz nel corso della lavorazione al romanzo sono inclusi nel libro: appunti, le nove versioni della prima frase del romanzo, le lettere di Ludwik Kolankowski e Zofia Zarembianka, le quali hanno fornito a Iwaszkiewicz fatti concreti. La conclusione del saggio ci illustra che la grande quantità di documenti raccolti da Iwaszkiewicz, invece di aiutarlo, lo ha paralizzato, rivelando così la natura della sua scrittura.
EN
The article mainly quotes a previously unpublished manuscript of Jarosław Iwaszkiewicz’s novel about Bona Sforza, entitled The Funeral of the Queen, which he has worked on between the 6th of June 1949 and 1953. The editor presents the origins of the book and its development. Additionally, all documents that Iwaszkiewicz researched and collected while working on the novel are included in the book, including notes, nine versions of the first sentence of the novel, and the letters from Ludwik Kolankowski and Zofia Zarembianka, who provided Iwaszkiewicz with factual information. The conclusion of the article reveals the nature of Iwaszkiewicz’s writing, showing that a huge amount of documents he researched – instead of helping him – paralysed him.
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